TESTING
At this point direct observations can be made regarding content. In many models of “devised” work, objects become the source (or part of the source) of the theatrical experience. These could rang anywhere from a poem, painting, song, film, work of fiction, graphic novel, or personal story. These sources must be tested with the ensemble (however the producer and director define the ensemble) to measure the potency, efficacy a possibilities of the source materials
Of course there’s no manual on what this testing looks like or how this testing is done, and in many cases, this phase looks a lot like a workshop. However, it doesn’t often feel like a workshop. This is the stage of the process where the ensemble doesn’t really know what it’s doing. Pieces of content, choreography, and aesthetic gesture are being tested (usually in some kind of rapid fashion) by the ensemble. Expectations are low, and process is high. This can mean chaos for most management professionals, but this is an imperative stage to build trust, listen carefully, and work with the director to begin to gain more detailed specifics about the goals of the piece.
In a sense, this is where we throw spaghetti against the wall and see what sticks.
"During We Can Only Grow Closer it was such a diverse and unique piece that at times it felt like things were flying by the seat of their pants…This resulted in confusion and questions that were really only cleared by the time the show was on set and in tech for me. By that point I was able to trace everything back to the beginning and find what the director knew all along, that he would find the piece naturally. During this kind of process it is neigh impossible to guess the outcome, and the best that anyone can do is to follow along, hold onto your hats and embrace the art. Trust that the director knows what he is doing, ask questions, pay attention, follow directions and be prepared for anything. When something is asked of you, whether it's cattle gates, clip lights or moon beams make sure to be on your game.
Working on this kind of theater is difficult, especially if you're coming from the background of more traditional work, but it can be all different kinds of rewarding if you allow it to be."
-Estey DeMerchant, Stage Manager
This is also be the phase there the ensemble test itself out as an ensemble. For the beginning stages of my most recent project, we spent the entire first three weeks “getting to know each other.” While the actors in the ensemble knew specifically about the themes of the piece, it was really a time to explore their movement capabilities and limitations, comfort with choreography, comfort with each other, ability to respond to sound, music, volume, tempo, and general direction. How did we do this? Games.
Games can exist in pre-written form, borrowed from monoliths of theater past, or created on the spot. Expect to see a variety of physical props, sound equipment, index cards, methodology books, improvisation, and choreographic techniques to be used in any and every possible combination in rapid-fire succession on any given day during this period. This phase is fun, but exhausting, with a flexible structure that can be freeing for some, and confusing for others. In short, keep your expectations low, your mind open, and be ready for anything.
This is commonly the period where, because games are played with unexpected outcomes, plenty of feedback is necessary. While we personally worked in physical contexts on my own project, we frequently (4-5 time per rehearsal) “checked in” to take the temperature of how our bodies were responding to different techniques and where we were moving, both individually, and as an ensemble. This particular ensemble was incredibly forthcoming with their emotions, and questions and concerns about process, but moved forward with high energy and utmost faith. As an ensemble, we chose not to record (in any way) our check-in sessions, both for purposes of anonymity, but to also prevent ourselves from getting stuck in any sort of emotional situation, therefore influencing the mood of the forthcoming games.
This required, however, constant check-in with management, the director, and the choreographer to keep constant tabs on what actions, movements, and content really resonated with the ensemble, and to begin building from there. If the producer of the project can understand the goals of the testing period, and see it’s imperative nature, the producer should be as open to ideas as any other member of the ensemble. With open eyes, the producer will begin to see the grander gestures of the piece take place, and begin to anticipate the needs of the next phase of the process, workshop.